Customer Reviews

Camus: Portrait of a Moralist

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"Camus" Portrait of a Moralist" is a splendid book. I came across it after just finishing a 400+ biography of the subject that bulged with facts and quotes but lacked insight and analysis. These later two virtues Stephen Bronner provides in abundance. His remarkable achievement is to offer in 150 pages a persuasive interpretation of Camus that brings together his life events, artistic achievements and activities, and his philosophical and political thinking.

Bronner argues that Camus' career evolved in three stages. During his early period he developed his concept of the absurd. The Second World War and Camus' involvement in the resistance heralded a focus on rebellion and the human solidarity that grows out of a shared struggle against a powerful and demonic foe. In the post-war era, however, this solidarity splintered over issues such as communism and the French-Algerian War. During the last 10 years of his life Camus was distinguished by his refusal to embrace ideologies and fanatical devotion to causes regardless the cost in human life and dignity.

Bronner discusses Camus' artistic, philosophical and journalistic works to both demonstrate and illustrate Camus' development until his death at age 47. Within this framework, Bronner draws welcome attention to neglected aspects of Camus' outlook such as his almost contemplative atheism.

In sum, Bronner's stellar accomplishment if to write an interpretation of Camus that is both clear and concise for the uninitiated, and subtle and nuanced for those already acquainted with his subject.

Galen Tinder galen@blast.net

Among the many pearls of insight offered by Alfred Kazin is one to which this author should pay much more respect: "What brings us closer to a work of art is not instruction, but another work of art."

Bronner begins his book with a lengthy apologia that explains in detail why every single other thing written about Camus is inadequate. I think such an introduction betrays the sort of scholar who would merrily have joined the pompous Parisian literati of the 1950s that banded *against* Camus, denouncing him as a traitor to the Left, and thereby proving forever their own hollow lack of substance. Therein lies the irony of tone with which this book is laced. Bronner is a man who purports to love Camus, but had he been writing fifty years ago, at the time when Camus most needed friends, I can easily see him being Camus' worst enemy.

As for substance, Bronner appears quite confident that his contribution is entirely original and more significant than anything heretofore written about Camus. I think in fact it is not particularly insightful, or at least no more so than what any intelligent layperson could get by reading Camus' works and the already existing biographical material.

Most insulting is Bronner's brusque disrespect for the Camus biography written by Herbert Lottman. Bronner first explains that the two major English-language Camus biographies in print -- one by Lottman and one by the Frenchman Olivier Todd -- are both inadequate because they are basically factual and not critical. However, the thing I found most frustrating about Bronner's book is that he commits exactly the sin from which Lottman mercifully spared us. Lottman writes in the preface to the second edition of his wonderful book that he will not deign to preach to us about how we should understand Camus. He so refuses because, as he explains, the essence of an artist is not in his biography (or, by extension, in secondary scholarship by university professors like Bronner), but in his works.

Notwithstanding Bronner's lengthly explanation of his own importance, I think his book will very quickly be relegated to the obscurity it deserves.